#cinema komunisto

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Cinema Komunisto - Film intero/Full Movie

[lamiaprigione]

Cinema Komunisto (2010)

[bobomeal]

Ja bih u "Kuću cveća"

Ja bih u “Kuću cveća”

Pošto je prethodnih 48 sati na Instagramu vrlo popularan “meme” Ja bih, potražio sam da li u ponudi ima i poseta “Kući cveća”.

Predstojećeg 4. maja se navršava 40 godina od smrti najvećeg sina naroda i narodnosti SFRJ Josipa Broza Tita, što je sasvim dovoljan razlog da stavite posetu predsedsedniku na svoju postkarantinsku listu stvari koje morate obavezno da uradite. Naravno, u slučaju da…

[cine-manila-blog]

Inventory of films shown to Josip Broz Tito disclosed in Cinema Komunisto (2010) makes clear how many movies he has seen in the period from 1949 to 1980. The smallest number from till 1979 is 179 titles in 1954. It is just only one year till 1979 when Tito has seen less than 200 movies per year. The largest number is 365 titles in 1957. Tito died in May 1980. Перелік фільмів показаних Йосипу Броз Тіто, розкритого в Cinema Komunisto (2010), роз’яснює ситуацію з тим як багато фільмів він оглядав в період від 1949 до 1980 року. Найменша кількість до 1979-го це 179 фільмів в 54-му. Це був лише один рік до 1979-го коли Тіто побачив менше ніж 200 фільмів. Найбільша кількість - 365 фільмів в 1957-му. Тіто помер в травні 1980-го року.

[documentaryoncinema]

Documentales, 19

‘Necessary Evil: Super-Villains of DC Comics’, Scott Devine, J.M. Kenny, 2013, VOSE.

Los malvados y muchas veces carismáticos villanos de DC Comics son analizados por guionistas, directores, actores y responsables de la editorial.

‘The New cinema’, Gary Young, Michael Heilemann, 1968, VO. 

Entre la Nouvelle Vague y el neorrealismo italiano, Europa había sido objeto de una transformación continua en cine desde la década de los 50, mientras el sistema de estudios en América gimió bajo su propio peso e inercia. Un nuevo Hollywood había llegado con ‘Bonnie y Clyde’ en 1967, y ya en 1968 se pensó cambiar la forma narrativa. 

De acuerdo con la descripción en YouTube aparentemente el documental nunca se emitió en televisión, ofrece una mirada fascinante a cineastas jóvenes de finales de los 60 y entrevistas de Gene Youngblood con George Lucas, que proporcionan un aspecto sobre su temprana carrera y la determinación de rebelarse contra las fuerzas dominantes de Hollywood.

Con la presencia de Peter Fonda, Dustin Hoffman, Roman Polanski y Sharon Tate, Andy Warhol, Francis Ford Coppola y George Lucas entre otros.

‘William S. Burroughs: A man within’, Yony Leyser, 2010, VOSE.

Sobre William S. Burroughs de la vida y la obra del que fue calificado como el mayor exponente de la contracultura americana.

Narrado por el actor Peter Weller, con imágenes de archivo inéditas hasta el momento y numerosas entrevistas a amigos y artistas como Iggy Pop, Patti Smith, Genesis P-Orridge, John Waters, Gus Van Sant y David Cronenberg entre otros.

‘Milius’, Joey Figueroa, Zak Knutson, 2013, VE.

Sobre la historia de uno de los directores y productores más controvertidos de la historia de Hollywood, John Milius. Desde sus aspiraciones infantiles por unirse al ejército hasta su abandono de la industria del cine por sus creencias radicales y comportamiento volátil, Milius ha dejado un trabajo legendario en películas como 'Apocalypse now’, 'Tiburón’, 'Conan el bárbaro’ o 'Harry el sucio’.

Cuenta con la participación de él mismo, Charlie Sheen, James Earl Jones, Sam Elliott, Ed O'Neill, William Katt, George Hamilton, Kurt Sutter, Randal Kleiser, Lorenzo di Bonaventura, Bob Gale, Paul Schrader, Bryan Singer, Oliver Stone, Kathleen Kennedy, Matthew Weiner, Harrison Ford, Sylvester Stallone, Arnold Schwarzenegger, Richard Dreyfuss, Steven Spielberg, Clint Eastwood, Martin Scorsese, Francis Ford Coppola, Robert Zemeckis y George Lucas entre otros.

‘Cinema komunisto’, Mila Turajlic, 2010, VO.

Aunque Yugoslavia haya desaparecido como país, todavía existe en las películas: por ello se convirtió en una nación puramente cinematográfica.

De ello trata el documental que narra casi cincuenta años de la construcción de una identidad nacional a través del cine.

Desde un exhaustivo rastreo de archivos, la directora serbia Mila Turajlic logró narrar toda la dimensión épica de la República Federal Socialista de Yugoslavia, centrándose especialmente en el afán cinéfilo de Josip Broz, el Mariscal Tito, primer ministro entre 1963 y 1980, contada por su proyectorista privado, un personaje extraordinario llamado Leka Konstantinovic.

Con cameos antológicos de Alfred Hitchcock y Orson Welles, esta historia del cine yugoslavo es un álbum completo del apogeo del género bélico en su máxima versión antinazi, una cronología sobre la megalómana pulsión de producción que supera cualquier verosímil y, sobre todo, un catálogo lujoso de la grandeza aventurera perdida del cine industrial.

‘Easy riders, raging bulls: How the sex, drugs and rock 'n’ roll generation saved Hollywood' (‘Moteros tranquilos, toros salvajes: Como la generación del sexo, drogas y rock ‘n’ roll cambió Hollywood' - ‘La generación que cambió Hollywood. Easy riders, raging bulls’), Kenneth Bowser, 2003, VO - VOSE.

Basado en el libro con el mismo título de Peter Biskind sobre la generación de directores que dominó el cine estadounidense en los años 70.

Con la participación de Coppola, Scorsese, Bogdanovich, Arthur Penn y Peckinpah entre otros.

'La verdadera historia de Fiebre del sábado noche', Anthony Uro, 2010, VOSE.

‘Rewind this!’, Josh Johnson, 2013, VOSE.

“Rebobine, por favor.

Los cambios tecnológicos en los dispositivos de consumo audiovisual han tenido un gran impacto en la manera de ver, conservar y realizar cine, televisión y otras formas de la comunicación audiovisual. La actual revolución digital del cine se vio en cierto modo prefigurada por el impacto que produjo en los primeros ochenta la consolidación del vídeo doméstico.

El documental ’Rewind This!’, dirigido por Josh Johnson, 2013, que pudo verse en el pasado Festival de Sitges y que ha tenido un pase reciente en el canal especializado en cine TCM, es una oda al VHS. En una estructura clásica de documental divulgativo, Rewind This! presenta a lo largo de su metraje a una serie de personalidades singulares cuya vida, trabajo o forma de pensar y sentir el audiovisual se han visto marcados por el VHS. Son coleccionistas cuya máxima pasión es escarbar en ignotos mercadillos en busca de piezas olvidadas por el tiempo, cineastas independientes, empresarios avispados que supieron ver la revolución que se acercaba, o aficionados de la vibrante escena de Austin, Texas, cuna de algunas de las más estimulantes convulsiones en la cinefilia contemporánea. Todos estos personajes insisten con sus testimonios, opiniones y análisis en la idea de que la consolidación del VHS como soporte para el consumo audiovisual a lo largo de los primeros años ochenta del siglo XX supuso una serie de cambios notabilísimos que cambiaron radicalmente el panorama del cine y que fueron, sin duda, el detonante de las condiciones que dan forma a la actual era de hiperinflación de vídeo.

En primer lugar, el VHS fue la piedra angular del cambio de nuestra relación con la televisión, al introducir la posibilidad de lo que se conoce en el ámbito especializado como time shifting (grabar los programas de televisión para verlos en un horario más conveniente). De hecho, puede decirse que el VHS nació, quizá no como tecnología, pero sí como producto de consumo, para grabar televisión. Pero la liberación del sometimiento al horario de emisión (que, en realidad, tampoco parecía una reivindicación mayoritaria) no fue la única consecuencia. Esa capacidad de registro para el visionado diferido se traduciría, también, en una capacidad de archivo, lo que acabaría teniendo un impacto sensible en los cinéfilos, al crear las condiciones para generar colecciones cinematográficas particulares.

Algo más tarde llegaría la otra gran transformación provocada por el VHS: la popularización del consumo doméstico de películas. Rewind This! narra aquel momento fundacional en el que Andre Blay solicitó a las majors los derechos de explotación de sus películas en formato de cinta magnética doméstica. Todas las majors declinaron excepto Fox. Pero la realidad se impuso, y pocos meses después, las grandes productoras-distribuidoras habían creado sus propios sellos de vídeo, iniciando así la transformación más profunda que la industria de los contenidos audiovisuales haya tenido en su historia. Para entender la magnitud de tal cambio, baste pensar en dos fenómenos. El primero es la importancia que desde entonces han tenido los beneficios por explotación de vídeo doméstico en la cuenta de resultados de cualquier major. El segundo es la irrupción en el ecosistema industrial del audiovisual de nuevas prácticas empresariales y nuevos enfoques del negocio. El productor, director y guionista Charles Band, máximo responsable de la que fuera una de las más destacables productoras independientes de los años ochenta (Empire Pictures), reflexiona sobre este fenómeno de forma muy clara en Rewind This!, cuando explica que, aunque las diferencias de presupuesto entre Terminator 2 y su producción Puppet Master fueran enormes, ambas ocupaban en el videoclub el mismo espacio y luchaban por el mismo público. En la época del dominio incuestionable del blockbuster en las salas de cine, los videoclubes fueron una saludable ampliación del campo de batalla para la competencia entre productoras y distribuidoras y el caldo de cultivo para la eclosión de toda clase de cineastas independientes. Aún más, el concepto de cineasta independiente amplió sus límites notablemente, para incluir a realizadores de guerrilla armados con una cámara doméstica.

Estas líneas han comenzado apuntando que las transformaciones que produjo el VHS prefiguraron el momento actual de la cultura del vídeo. Quizá se entienda mejor diciéndolo de otro modo: hay mucha menos distancia en el salto del VHS a la combinación de vídeo digital e Internet, que en el salto del cine doméstico en formato Super8 al VHS. En la actualidad, aunque no haya desaparecido el evento televisivo en directo, el time shifting es una práctica casi generalizada, el consumo en casa es ya la forma privilegiada de ver cine y la producción amateur vive su minuto de oro gracias a la combinación de los millones de cámaras de vídeo disponibles en toda clase de dispositivos y los servicios de alojamiento de Internet. Y lo que creó las condiciones para ese cambio tecnológico y cultural fue el VHS.

Y ahora viene lo que para el autor de estas líneas es la coda triste de la historia: más de dos décadas después del momento de gloria del VHS, los amantes del cine doméstico en formato físico nos vemos obligados a batirnos en retirada. El streaming, el VOD y las descargas, tanto legales como alegales o ilegales, se convertirán definitivamente en las formas habituales (si no las únicas) de consumo cinematográfico en casa, dejando nuestras estanterías de discos (dvd y blu-ray) como reliquias. Pero, y pido disculpas por el exceso de terminología militar, después de la retirada viene la guerra de guerrillas. No debería resultar extraño, por tanto, que algunos de esos amantes, convertidos en guerrilleros, hayan comenzado a rebobinar la Historia, reivindicando aquellas cajas de sueños hechas de cinta magnética envuelta en enormes y poco prácticas cantidades de plástico.”

Publicado originalmente en COMeIN. Revista dels Estudis de Ciències de la Informació i de la Comunicació de la UOC, 27 (noviembre de 2013) por Jordi Sánchez Navarro, investigador y profesor de comunicación (UOC). Programador en Anima’t de Sitges Festival Internacional de Cinema Fantàstic de Catalunya.

‘Perdidos en La Mancha’ ('Lost in La Mancha’), Keith Fulton, Louis Pepe, 2002, VOSE.

En 2000 Terry Gilliam intentó llevar (ABC.es) El Quijote a la gran pantalla en un proyecto titulado 'El Hombre que Mató a Don Quijote'. Sin embargo una serie de desgracias para la historia del cine hace que nos tengamos que conformar con el documental sobre el rodaje de éste magnífico sueño de Gilliam en España que ahora piensa reanudar.

En el puede verse como los técnicos se desesperarán por el modo de trabajar de Gilliam, una mente caótica y genial donde hierve una imaginación desbordante, y por los accidentes, lluvias y productores intransigentes.

'American movie’, Chris Smith, 1999, VO.

Sobre Mark Borchardt, un aspirante a director de cine que trata de financiar el proyecto de sus sueños y poder así terminar de rodar su película, de terror y de bajo presupuesto que había abandonado años atrás. Wikipedia.

[sysk-ehess]

MILA TURAJLIĆ

Mercredi 6 décembre 2017

De 19h à 21h à la MSH, 16-18 rue Suger 75006 Paris (Métro Odéon ou Saint-Michel)

Mila Turajlić est une documentariste venant de Belgrade (Serbie). Son premier film en tant que réalisatrice en 2010, Cinema Komunisto, a été présenté au Festival International du Film Documentaire d’Amsterdam (IDFA) et au festival de Tribeca. Il a reçu seize prix, dont le Hugo d’Or au Festival International de Films de Chicago. Le documentaire retrace l'histoire de la compagnie nationale de cinéma yougoslave Avala Films, créée par Tito pour se réfléchir au sein de l’histoire du cinéma, et construit, à partir d’entretiens et archives du cinéma yougoslave, un « film sur un pays qui n’existe plus ». Il a été présenté en France, au Royaume-Uni et en ex-Yougoslavie. Son deuxième film The Other Side Of Everything est la première coproduction européenne de la chaîne HBO avec la Serbie, également coproduit par la compagnie française Survivance. Il a été présenté au dernier Festival de Cinéma International de Toronto en 2017 et vient d’obtenir le prix IDFA à Amsterdam du meilleur long-métrage documentaire. Le titre représente littéralement une porte verrouillée de l’appartement Srbijanka Turajlić, où celle-ci a grandi et vit encore. Srbijanka Turajlić, la mère de l’artiste, est une célèbre professeure de l’université de Belgrade et une activiste politique, qui fut aussi le symbole des manifestations étudiantes contre le régime impitoyable de Milosevic. En 1946, après l’établissement du gouvernement communiste en ex-Yougoslavie, l’appartement familial fut divisé pour héberger d’autres familles. Le documentaire commence alors que les deux portes du salon fermées depuis 70 ans (même après la dissolution du régime communiste et de la Yougoslavie) font place nette.

Mila Turajlić est une ancienne étudiante du programme de formation Eurodoc, destiné aux professionnels européens du secteur documentaire, du Berlin Talent Campus et du Discovery Campus. Elle enseigne au sein de l’équipe pédagogique d’Archidoc, organisme français chargé du développement de projets de films originaux dans leur approche des archives et d’aider leurs réalisateurs·trices à accéder au marché international du film documentaire. Elle enseigne aussi au Centre documentaire des Balkans. En 2005, Mila Turajlić a créé le Magnificent Seven Film Festival de films documentaires européens à Belgrade et a été la première présidente de DokSerbia, l’association des cinéastes documentaires qu’elle a co-fondée.

[EN] Mila Turajlić is a documentary filmmaker born in Belgrade, Yugoslavia, in 1979. Her 2010 directorial debut, CINEMA KOMUNISTO, premiered at IDFA in Amsterdam and Tribeca Film Festival, and went on to win 16 awards including the Gold Hugo at the Chicago Int’l Film Festival in 2011, and the FOCAL Award for Creative Use of Archival Footage. Cinema Komunisto has also become part of the teaching curriculum at a number of US universities. The film explored the ruins of Yugoslavia’s communist regime through the old state-run film industry and through collected memories about cinephile dictator Tito (who watched a film every night). Mila’s second film « The Other Side of Everything » premiered at the 2017 Toronto Film Festival, and just won the IDFA Award for Best Feature-Length Documentary. It is a documentary on Serbia’s history, in relation to the themes of memory and time. The title literally represents a locked doorway in Srbijanka Turajlić's Belgrade apartment where she grew up and still lives. Srbijanka Turajlić, who is director’s mother, is an acclaimed professor at the University of Belgrade and political activist, once a symbol of student protests against ruthless Milosevic’s regime. In 1946, after the establishment of communist government in former Yugoslavia, the apartment complex that belonged to Srbijanka's family was divided across to accommodate other families. The documentary opens with her cleaning the two locked doors in the living room which hasn’t been opened for seven decades (even after the dissolution of communist regime and Yugoslavia).

Mila is an alum of EURODOC and teaches workshops on filmmaking at Archidoc (La Fémis) and Balkan Documentary Workshop. She produces the Magnificent 7 Film Festival of European Feature Documentary Film in Belgrade since it’s creation in 2005, and is a founding member and first president of DOKSerbia. Mila is a graduate of the London School of Economics and holds a Ph.D. from the University of Westminster. She is currently in production on a documentary film about the recently deceased Stevan Labudovic, the cameraman of President Tito, who filmed the birth of the Non-Aligned Movement.

Programmation et prochains rendez-vous sur ce site ou par abonnement à la newsletter : somethingyoushouldknow-request@ehess.fr

Pour regarder les séminaires antérieurs : http://www.vimeo.com/sysk/

Séminaire conçu et organisé par Patricia Falguières, Elisabeth Lebovici et Natasa Petresin-Bachelez et soutenu par la Fundación Almine y Bernard Ruiz-Picasso para el Arte.

[27timescinema]

INTERVIEW - LUX PRIZE - MILA TURAJLIC

By Iassen Atanassov (pics © Giornate degli Autori)

Mila Turajlić is a young and creative Serbian filmmaker bestly known for her documentary movies Cinema Komunisto and The Other Side of Everything. The second one was chosen among many other European films to be part of the LUX Prize finalists this year, and was screened during the 75th Venice Film Festival. The film shows the story of Mila’s mother, Srbijanka Turajlić, focusing on her personal and political fights against the different regimes that ruled over Serbia during the past decades, as well as her dedication to her country. The film has received many awards all around the world, including the 2017 IDFA award for Best Feature-Lenght documentary. While she was in Venice I was lucky to have the chance to meet her for a quick interview.

Can you imagine fighting for something during your whole life, without leaving your country, like your mother did?

It is very, very hard for me to think that when I am her age I will be like that. I think that everybody in our coutry has a decision to face - wether to see the world and search for opportunities or to stay in their own country and deal with its problems. I haven't actually decided yet, but I am facing this choice and it is really hard. It is even harder when you have someone in front of you who has made such an honorable choice. In some ways she is giving me a legacy and I am like: "No, I don't want it”. I don't think that she ever questioned her desicion. Whatever happens she stays and whatever happens she fights. 

How long was the shooting process for the movie?

5 years of intense shooting. I worked on this film from 2012 to 2017, but some footage is from 2005. This was going to be my first movie and I started working on it in 2005. A few months later I realised that I didn't know how to make it. I wasn't old enough, I wasn't mature enough. So I dropped it and made another film. When I finished with that one I came back to The Other Side of Everything. Actually, when she is cleaning the silver in the film it is from two different years put together in on scene, because she does this once a year.

How would you explain this kind of "Balkan syndrome" concerning politics? Why do we always choose the same people we are complaining about? We make revolutions and then nothing changes.

I think it has to do with the process of falling in love with a politician. Someone appears as the "Messiah" and people believe in him. I also thought that it was a thing from the Balkans, but then I realised that it isn't happening only there. Not at all. It is much bigger than that. I visited a lot of countries with my film and I saw that we are not the only ones going through this at some point of our history. The media can create so much hysteria towards a person in order to make people love him and see him as a hero. On the other hand, politicians really know how to lie and we fall for this every time. It is a very troubling thing.

Do you believe the situation will ever be good? Could we eventually live happy and in peace? 

Do you remember the scene where my mother is telling me that I should continue her fight for this idea and find solutions? She is talking to all of us actually. The unpleasant thing is that we are the ones that should make this world a better place. Our generation has the responsibility now, even if we don't want to take it. 

Do you remember how was the situation when you were a child or did your mother tried to hide all of this from you in order to protect you? 

We were very mature. When there was no more food left, me and my sister clearly knew what was going on. We learned from our mother about being very transperant and open about what we were doing, particularly when resisting a regime. She would always have conversations on the phone in front of us, because when you start hiding something you put yourself in danger. I knew very much what was going on but I don't think I realised when I was a child how unique it was what she was doing. It was only when I reached this age, around the age my mother was at that time, that I am begining to think: "What were you doing? Where did you get the idea?". 

Did you have any issues while mixing job with family? Wasn't it strange for you? How did you manage?

At the beginning it was awkward for both of us. She didn't really think that I was ever going to finish this film, and I never really told her that she was going to be the main character. The truth is that you have to be very patient. I filmed her for 5 years, and one of the reasons it took me so long is because my mother is a professor. She is used to giving lectures, so she was talking to me like I was a journalist instead of her daughter. It took me a long time to make her understand, and I got quite angry some times. Then I started thinking: “Okay, I need to direct the context in between”. So I tried a lot of different things. I tried showing her the archive, to set her in a different mood, but it didn't really work. You have to be super patient, because you have to go through the phase when she thinks that she is giving an interview. Then she gets tired and the real conversation begins. The only way to make people relaxed in front of the camera is to give them time.

Were there any parts of the film that became too emotional to include in the final cut? 

The hardest scene for me, that is actually in the film, is when we are both crying. I filmed it by accident. We were in a conversation, the camera kept rolling and then we had this "moment". I only saw it in the rush afterwards. At the beginning I thought it was too intimate, but because of how it was filmed - you don't see her face - I thought I could use it. When we watched the final cut without the scene I knew that it was necessary. If it hadn't been filmed discretely, I would have never put that scene on the film. 

Have you ever had any fights with your mother about politics because of the generation gap?

I grew up following her life so we have very simillar views, but I loved using all these moments when you see her fighting with her friends. I really like this idea that you have friends from your childhood who have completely different beliefs and thinking and still be friends and playing cards. I thought that this was something really important to show. 

Where does your dissapointment come from?

We had a very good chance, we were protesting for so many years and then we had this revolution. We ‘achieved’ what we wanted and then woke up the next morning and realised that it is actually very easy to be a protestor, being against something. But when you finally have the power to build, what do you build? That is where my disappointment comes from. We had the chance and we didn't know what to do with it. I am very reluctant to be a protestor now because nothing really changes, even if it works. 

Why do you think your mother is more optimistic than you? 

I think it has to do with her personality. Sometimes I think that she is very naiv. She was a student in 1968 and she grew up in this movement that really believed in its power to change the world. But yes, it is funny how even today she remains more optimistic than me. 

What drives you forward?

The older I am the more I realise that I am very lucky. I do what I love. And there are actually not so may people who can say that. The fact that I managed to indentified what my passion was and then had the luck to make it my job, that moves me forward. Knowing that I am doing what makes me happy. And that is very rare.

[lookerweekly]

Nakon pet godina snimanja, i  svetkse premijere u Torontu, zatim njujorške, pa evropske na festivalu dokumentarnog filma IDFA u Amsterdamu, gde je film dobio prestižnu nagradu za najbolji dokumentarac, “Druga strana svega” prikazan je i pred domaćom publikom, sinoć u do poslednjeg mesta punoj sali Sava Centra, u okviru Festivala autorskog filma.  Autorka filma Mila Turajlić poznata je već filmskoj publici po svom debitantskom ostvarenju “Cinema Komunisto”, a premijerno beogradsko prikazivanje svog novog autorskog dela, čiji je ona scenarista, reditelj i snimatelj posvetila je nedavno preminulom snimatelju Stefanu Labudoviću.

| Tijana Janković

https://www.lookerweekly.com/film/druga-strana-svega-napunila-sava-centar/

[kinematografija-blog]

New Post has been published on Kinematografija

New Post has been published on http://www.kinematografija.net/cetiri-hrvatska-filma-55-festivalu-rencontre-cinema-de-pezenas-1174/

Četiri hrvatska filma na 55. Festivalu Rencontre Cinema de Pézenas

ScreenShot: https://www.youtube.com/watch?v=pcWDMgipJ78

10. veljače u francuskom gradu Pézenas na jugu Francuske svečano je otvoren pedeset peti po redu Festival Recontre Cinema de Pézenas koji je ove godine tematski posvećen kinematografijama zemalja bivše Jugoslavije. Na bogatom programa našla su se i četiri hrvatska filma i to: “Breza” redatelja Ante Babaje, “Zvizdan” Dalibora Matanića te čak dva filma Arsena Antona Ostojića – “Ta divna splitska noć” i “Halmin put.”

Svake godine, na festivalu Recontre Cinema de Pézenas tradicionalno se okupljaju francuska  udruženja kino klubova, a ove godine izbornice zadužene za program posvećen kinematografijama zemalja bivše Jugoslavije bile su Irena Bilić i Dunja Jelenković.

Festival  Recontre Cinema de Pézenas svečano je zatvoren jučer, 16. velajče, a uz četiri hrvatska filma, na festivalu su bili prikazani i ovi filmovi: “Parada” i “Lepa sela, lepo gore”  Srđana Dragojevića, “Ko to tamo peva” Slobodana Šijana, “Dom za vešanje”, “Underground” i “Otac je na službenom putu” Emira Kusturice, “Srećna Nova ’49” Stole Popova, “Snijeg” Aida Begića, “Cinema komunisto” Mile Turajlić, “Gori vatra” Pjera Žalice, “Mamaroš” Momčila Mrdakovića, “Le Siege” Patricka Chauvela, Rémya Ourdana, “Na putu” i “Grbavica” Jasmine Žbanić, “Ničija zemlja” Danisa Tanovića, “Kad budem mrtav i beo” Živojina Pavlovića, “Yugoslavia: How ideology moved our collective body” Marte Popivode, “Dobra žena” Mirjane Karanović i “Razredni sovražnikn” Roka Bičeka.

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(via 21:9 – Perfect Day e Cinema Komunisto - Una casa sull'albero)

Oggi Andrea Amadori ci porta sui Balcani con due film: Perfect Day di Fernando León de Aranoa e Cinema Komunisto di Mila Turajlic. 

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21:9 è una rubrica di Andrea Amadori

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avala film

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CINEMA KOMUNISTO

  Director: Mila Turajilc Studio: Music Box Films

Learn more about the film here: http://www.musicboxfilms.com/cinema-komunisto-movies-104.php

“Cinema Komunisto” is a film about politics. It’s a film about politics using the power of the cinema to raise easy money. When you’re in a Soviet Bloc nation where you have to control the thoughts and dreams of the people to keep the great experiment…

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Dialogues on cinema. L'incontro con Mila Turajlić.

[youtube=http://www.youtube.com/watch?v=XsGYhjMPljg&w=604&h=370]

Secondo appuntamento della serie di tre incontri dedicati al cinema di Balcani e Turchia, promossi a Reggio Emilia nell’ambito del progetto “Racconta l’Europa all’Europa” da Obc, Unimore–…

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EBRD film night

Director Mila Turajlic spoke to us about the inspiration behind her award-winning documentary 'Cinema Komunisto' and exploring the role cinema plays in nation building after a screening at EBRD headquarters.

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This is a Story about a Country that Exists Only in Films

by OLLIE KHAKWANI

Cinema Komunisto was screened as part of the United Nations Annual Film Festival (UNAFF) which is now in its 14th year and continues until Oct 30th. See the full roster of films atwww.unaff.org

Knowing that Cinema Komunisto was about the Yugoslav film industry, I had to try hard to suppress a groan as the film opened with the line “This is a story about a country that-,” suspecting that it would end with “doesn’t exist anymore” and would expand into a feature-length forced march down the nostalgic road. Thankfully, as brief clips of Yugoslav filmmakers’ successes rolled, the fragmented sentence ended “-that exists only in films.” It set the stage for an insightful look into how tightly cinema was sown into not only the Communist identity of the Second Yugoslav republic, but its very existence.

We hear about Communists hijacking the various forms of cultural production to the point of banality – ironically, the various Parties’ propaganda has such reach in the post-Cold War era that its distinctive poster style is itself appropriated for commercial purposes and the early propaganda films (particularly Chinese ones) are shown as entertainment in Political Science classes. However, none of this exposure has done anything more than graze the surface of the significance of the arts, and in particular film, to socialism.

Yugoslavia is a case in point. The birth of the cinema industry – a rapid construction project based on mass mobilisation of zealous youthful volunteers – occurred at the same time and in the same manner as the reconstruction of the Yugoslav republic itself in the immediate aftermath of World War II. The war had given birth to conjoined twins, who as it turned out, were never to be separated. The connection between the two in the Yugoslav case was inextricable and based on far more than state-owned production companies churning out gloriously gory tales of the partisan struggle that begat their nation, even if that was how things started – hundreds upon hundreds of films where hundreds upon hundreds of Nazis had holes punched in them by strikingly beautiful female snipers and machine-gunners who had never before touched a gun.

The big link between the two was of course The Big Man in Yugoslavia, Josip Broz Tito. His love of cinema was, to put it lightly, rabid. He almost invariably watched a film every night, adding up to 8,801 films watched from his thirty-plus years in power. In 1957, he actually managed to watch 365 films in 365 days. On the one occasion that his scrambling assistants ended up bringing him a film he had previously seen, he called them out during the opening credits and pinpointed the day it had been watched five years before. Because The Big Man loved cinema, the Yugoslav people were encouraged to love cinema, much like how the Chinese now love ping-pong because Mao loved ping-pong. At the Roman Theatre in Pula, Croatia, from the sixties onwards screenings happened every night to a staggering audience of ten to fifteen thousand. Ratko Drazevic, the man who took the reins of the state-owned film studio Avala, the largest in Europe, was a former State security officer. The string of Hollywood blockbusters that were filmed in the diverse and picturesque Yugoslav landscape, including Marco Polo, brought in valuable foreign currency into the country at a time when it was running short.

Being as dependent as it was on the generous support of the state, the Yugoslav cinema industry wilted when the state fragmented. The documentary plays with this fall from greatness and its accompanying nostalgia, skipping back and forth between the Tito-era and the present. Like other socialist regimes, Tito’s lauded youthfulness and energy because they were extensions of the great love of socialism – the future. Director Mila Turajlic emphasises this with the selection of triumphant scenes of battle, the grand scale of the productions organised by the expert Yugoslav set designers, and the always-charming music that seemed to be Communist chants superimposed on Western music of every genre. In stark contrast, the scenes from the present are of once-young men revisiting buildings destroyed by the NATO bombings, or the ivy-covered skeleton of the Avala studio, or standing with larger-than-life statues of Tito in the positions they used to stand.

The nostalgia is powerful and moving, but so substantive that it never feels overdone. Maybe its substance comes from the fact that as the opening line of the film suggests, unlike the ideals, and people, and giant factories that disappear with the end of a regime, Yugoslavia will continue to exist forever in films.

  Ollie Khakwani (’13, STS – Product and Interaction Design / minors in Political Science and Art Practice) was the editor of the Design section and Managing Editor of the Stanford Arts Review. In his spare time he likes playing the drums, hating on Proust, and making stuff out of garbage and garbage out of stuff. Check out his work at www.olliekhakwani.com.